Heat

Michael Mann’s 1995 epic Los Angeles crime drama Heat gives to the crime drama genre what The Godfather gave to the “gangster” film, a level that all films of the genre should aim for. It was another film overlooked by the Academy, in fact this film didn’t even garner a single nomination at all.  [1] But anyway, it all doesn’t come down to awards recognition.

The plot of Heat essentially involves a traditional “cops and robbers” story, where the police, lead by Vincent Hanna (Al Pacino) chases Neil McCauley (Robert Den Niro) as he plans and commits a number of crimes throughout the city. Which includes one of, if not the greatest bank heist sequence ever written, which culminates in a “warzone” like shoot-out the crowded streets of Los Angeles.

The structure of the Heat does follow the more traditional three act “Hollywood” structure, with important turning points appearing at well-placed points throughout the film. Following the three-act structure in this case helps Heat, especially with it’s 171 minute run time. As with the previously reviewed Magnolia, Heat does move around the various characters, which helps the pace of the narrative remain quick, and drives the film towards it’s memorable climax.

The two main characters of Heat are undoubtedly Hanna and McCauley, both played superbly by Pacino and De Niro. Yet they only share two scenes together throughout the film, one a stunning conversation in an LAX diner, where they discuss how similar they are, and that the only real difference between them is which side of the law they work on. The other characters don’t just fill out the time; they inhabit their roles and bring great depth to each of them, such as Lauren (Natalie Portman), Hanna’s stepdaughter who is marginalised by her mother and biological father. Heat is filled with flawed people who focus on their professional lives, and neglect their personal lives to often calamitous consequences.

Again, the long running time could stop a lot of people watching the film, but if you discount films that push the 3 hour mark then a lot of films will pass you buy. Along with the length some of the side stories and plots could come across as being indulgent, such as Laurens suicide story and Van Zant’s relevance to the plot, but without these the story wouldn’t be as layered or rewarding as it is.

Score: *****(5/5)

---

[1] Oscars nominations for Best Film 1996: Braveheart (winner), Apollo 13, Babe, Sense and Sensibility and Il Postino